@article{
author = "Томић, Марија",
year = "2021",
abstract = "The basic thesis of this paper is that ʻpause’ represents the ontological center of Claude Debussy’s (1862–1918) Syrinx for solo flute (1913). The phenomenon of the musical work is interpreted through an ontological perspective, following Roman Ingarden’s reflections presented in his Ontology of the Work of Art, having also in mind the different modes in which music can exist, that can be read from Ferruccio Busoni’s Sketch of a New Esthetic of Music. Since the programmatic content of Syrinx represents the myth of Pan’s flute, we necessarily introduce Mircea Eliadeʼs explication of the phenomenon of myth, more precisely, of the mythical
time, into the theoretical discussion as well., Основна теза овог рада јесте да ʻпауза’ представља онтолошки центар
Дебисијеве (Claude Debussy, 1862–1918) композиције Сиринкс за соло
флауту (1913). Феномен музичког дела тумачимо из онтолошке перспективе,
по узору на Ингарденова (Roman Ingarden) промишљања изложена у његовој
Онтологији уметности, имајући у виду и различите модусе појавности музике
који се ишчитавају из Бузонијевог (Ferruccio Busoni) Нацрта за једну нову
естетику музике. Будући да програмску основу композиције Сиринкс чини
мит о Пановој фрули, у теоријску расправу нужно уводимо и Елијадеову
(Mircea Eliade) експликацију феномена мита, прецизније, митског времена., Symbol of the (modern) flute music, Claude Debussy’s (1862–1918) composition
Syrinx for solo flute was initially conceived and premiered in 1913 as music for the
first scene of the third act of Gabriel Mourey’s dramatic poem Psyché. The phenomenon
of musical/Debussy’s work is interpreted through an ontological perspective,
following Roman Ingarden’s reflections presented in his Ontology of the Work of Art,
having also in mind the different modes in which music can exist, that can be read
from Ferruccio Busoni’s Sketch of a New Esthetic of Music. Since the programmatic
content of Syrinx represents the myth of Pan’s flute, we necessarily introduce into
the theoretical discussion as well Mircea Eliade’s explication of the phenomenon
of myth, more precisely, of the mythical/sacred time (Great Time), which stands
in contrast to the profane or historical time. Entering the Time takes place, significantly,
almost at the very beginning of the composition, thanks to the appearance of
the Fermata written after all beats in the second bar and, then, to the double bar line
which completes the eighth bar – during the sound realization of these signs flutists
ʻperform’ pauses, which we understand as places of the intersection of musical and
mythical time, that is, as a mean of temporal continuity in the overall dramaturgical
flow. It becomes apparent that the Time (Fermata/double bar line/ʻpause’) in a certain
way determines the musical time, i.e. the temporal organization of Syrinx. Therefore,
the constitutive elements of the myth are the hallmarks of this work – apart
from, for example, the interaction of two modes of time (mythical and musical) inhabiting
each version of the myth of Pan’s flute, which the composer transposed to
his work, treatment of the musical material also resonates with mythical patterns,
particularly the concept of returning “at the beginning”. Since Busoni’s fourth mode
– the conception of interpretation – likewise takes place primarily through ʻcreating’
the Fermata’s duration, we conclude that ʻpause’ represents the ontological center of
Syrinx for solo flute, which intensifies the image of the identity of a musical work as
an ideal object.",
publisher = "Београд : Музиколошки институт Српске академије наука и уметности",
journal = "Музикологија",
title = "Écoutant la musique de Pan: о онтолошком потенцијалу ʻпаузе’ у Дебисијевом делу Сиринкс, Écoutant la musique de Pan: Regarding the Ontological Horizons of ʻPause’ in Claude Debussy’s Syrinx",
pages = "213-229",
number = "31",
doi = "10.2298/MUZ2131213T",
url = "https://hdl.handle.net/21.15107/rcub_dais_12527"
}
